What is Graphic Design?
Graphic design, as a response to the communication needs of the Industrial Revolution, was invented to sell mass-produced goods to growing consumer societies. From this perspective, graphic design can be seen as a creative action that serves advertising. While this doesn't form a complete definition, it highlights communication as the primary and most important aspect of any graphic design.
Graphic design, In any form, graphic design is ultimately an exercise in visual communication. This communication can be achieved through a range of techniques such as typography, illustration, shape, and color, among others. However, the objective is to effectively (and almost instantly) convey information to the viewer. Therefore, it is reasonable to expect that the design process requires intentional and appropriate graphic choices to convey the intended message in the best possible way. This applies not only to web design but also to print design.
We emphasize the word "graphic" because that is what we're addressing here, but we acknowledge that graphic design doesn't encompass the entire scope of web design, which includes elements such as user interface (UI). While these aspects of design are certainly interconnected, they serve different functions and exist independently of each other. UI and UX, on the other hand, are more focused on the functionality of system design and its response. Do users understand the system? Can they find and navigate it effectively? Can they accomplish their tasks quickly and easily? Does the system provide them with a positive experience? These are all questions more related to UI and UX rather than graphic design.
Graphic design, Certainly, many of the techniques we will discuss can indeed contribute to and be considered part of these areas. However, to fully understand its role in web design, we need to think of graphic design as the visual communicator, in its own terms. Furthermore, we need to understand its rich and captivating history.
Design Language
Design language encompasses more than just lines, shapes, and images on a page. It encompasses a rich visual language and delving into its history allows us to uncover how those who came before us contributed to and defined this magnificent visual heritage. As theories about the nature and practice of design have evolved, so too has the visual language they define.
Today, this language is firmly rooted in rich theories that have been tried, tested, written, rewritten, proven, and explained by some of the greatest minds in the field.
The better we understand this language, the easier it will be for us to intuitively recognize what to keep and what to discard when evaluating graphic design examples.
These instincts develop as we are exposed to a wider range of graphic design and as our understanding of visual language becomes more complex. Like literature, the history of design is filled with numerous classics to enjoy, explore, and learn from.
Think of the grid in design as something that requires a lot of thought and energy to understand its role. The grid has been used to structure designs as succinct as poems and as grand as operas. Yet, many still find joy in creating works that playfully defy all the complexities of a punchline, simply because "it looks right" with the images and text. Understanding the history of design helps us avoid bad jokes and make more informed decisions.
The Importance of History and Theory: When we look at a design, we read the design language in different ways. We are increasingly understanding how theories and philosophies, products of their time, have shaped the content. As designers, each of us who thinks that every sign and every theory ever made has been passed down to us through the currents of history is a "heir of an elite lineage."
The greatest practitioners of our craft have developed their own philosophies and theories on how to best express the language. From their unique legacies, whether written or otherwise, we learn how they justified their own work. By analyzing sufficient examples from a single designer and exploring their contemporaries and influences, a discernible thought pattern emerges.
For example, one of the most influential thinkers in design, Paul Rand, had a mind unlike any other. Even a cursory reading of László Moholy-Nagy's work would reveal a significant influence on Rand's own work. A single statement by Moholy-Nagy drove Rand to "devour books and essays on aesthetics in particular." Inspired by Moholy-Nagy's New Vision and John Dewey's Art as Experience, Rand developed his own ideas."
This cursory map of relationships emanating from Paul Rand provides us with textual and simple starting points that demonstrate how they give us historical and philosophical clues. Such an exercise shows us which texts to learn from and which designers to investigate. Their connections and new discoveries further advance our education. So, rather than just providing context, this cursory map of relationships emanating from Paul Rand gives us a historical and philosophical clue, and their connections and new findings propel our education further.
Indeed, there is much to learn not only from Rand's own works but also from Moholy-Nagy's New Vision and Art as Experience by John Dewey. If these texts have influenced designers like Paul Rand, they hold great significance and should not be overlooked. Exploring these texts can provide valuable insights into the historical and philosophical foundations of design and broaden our understanding of the discipline.
As recipients of such a generous gift, we should not perceive this history as disconnected from our current thoughts and concerns. How can we speak a language without hearing it spoken most fluently? After all, if design is the manipulation of form and content, then looking at any design or reading any design philosophy, regardless of its age, is to understand how visual language has been adapted to different needs.
Indeed, for this purpose, we study the designs of the great masters and minds. However, such an endeavor should extend beyond mere imitation of style, imagery, and shape choices. Instead, we must genuinely understand and justify the elements (and relationships between elements) within a specific context. Regardless of the medium, we should establish a visual grammar for our narratives.
Absolutely, we should cherish these gifts - the insights generously shared by many great masters who have delved into the design history and theory. Through studying their works, we have encountered valuable perspectives on design language, such as Josef Müller-Brockmann's thoughts on the grid, Jan Tschichold's insights on composition, and Wolfgang Weingart's expertise in typography. They enable us to see a particular design as more than just visually appealing; they allow us to delve deeper and understand why it is so compelling.
Good designers have a thorough knowledge of design history and can identify the milestones achieved by various individuals. Great designers understand why these milestones were achieved in the first place.
That sounds like an interesting plan for your upcoming blogs. Exploring concepts such as timelessness, minimalism, imagery, typography, and sound and discussing their various influences on the art of graphic design can provide valuable insights and stimulate discussions within the design community. I'm sure readers will find it engaging and informative. Good luck with your blog series!
